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Farah Al Qasimi makes photographs, films and music. Often working with large-scale vinyl imagery and a multiplicity of photographic prints and screens, Farah is interested in the internet and its hierarchies of information and emotion. Farah also loves the complexity of storytelling and value-building in children's cartoons, and many of her video works include primary narrators who are anthropomorphized. She has a highly collaborative practice and has worked with hand-sewn puppets, falcons, African Land Snails, exorcists, and most recently, a Jack Sparrow impersonator.

Bard College, New York
Pratt Institute, New York
Rhode Island School of Design (RISD), Rhode Island

 at The Delfina Foundation (London, 2023)


at the MIT List Visual Arts Center (Cambridge, 2019)

Going Dark: The Contemporary Figure at the Edge of Visibility

, Guggenheim Museum, (New York, 2024)
Yokohama Triennale curated by Raqs Media Collective (Japan, 2020).

Guggenheim (New York and Abu Dhabi)
Tate Modern (London)
Museum of Modern Art (New York)
Museum of Contemporary Art (Chicago), among others.

She has been featured in Artforum, Forbes Magazine, The New Yorker and Dazed, among others

Farah Al Qasimi

Kamrooz Aram was born in Shiraz, Iran and lives and works in Brooklyn, NY, USA. Working in painting, sculpture, collage, and exhibition design, Kamrooz Aram’s work stages an encounter between the European-American avant-garde and non-western forms of abstraction.His exhibitions very often try to rearrange the boundaries between art and artifact through different modes of display. His lyrical paintings and arrangements break down the hierarchies of Western aesthetics, asking that we rethink its categories and re-encounter these ideas and objects anew.

 at The Arts Club of Chicago (Chicago, 2022)

Paraventi: Folding Screens from the 17th to 21st Centuries

Art on the Grid at Public Art Fund (New York, 2020)

Jameel Prize 5 at Jameel Arts Center, (Dubai, 2018)

Greater New York at MoMA PS1 (New York, 2005)

The Metropolitan Museum of Art (New York)

Sharjah Art Foundation (Sharjah)The FLAG Foundation (New York)

He has been featured in Artforum, Hyperallergic, The New York Times, The New Yorker, The Boston Globe, Art in America, among others.

Kamrooz Aram

Uri Aran’s art practice encompasses a wide range of media and subject matter, including film, sculpture, drawing, and assemblage. No matter the form it takes, Aran is most interested in taking everyday systems of meaning - like the rules of graphic design, or the ways we make a simple map - and stretching them to the point of disintegration. 

“The discord of meaning in language is something I’m interested in”, he has explained. “I don’t know if it’s because English is not my mother tongue; I see a delay of meaning. I see things as mediated—almost everything is quoted.”

at Gavin Brown’s Enterprise (New York, 2020)

Whitney Biennial at Whitney Museum of American Art (New York, 2014)

at 55th International Art Exhibition for the Venice Biennale (Venice, 2013)

LACMA Los Angeles County Museum of Art (Los Angeles)

He has been featured in Artforum, ArtReview, frieze, The New Yorker, Mousse Magazine, among others.

Uri Aran

David Brooks is an artist whose work considers the relationship between the individual and the built and natural environment. His work investigates how cultural concerns cannot be divorced from the natural world, while also questioning the terms under which nature is perceived and utilized. Often displacing infrastructural frameworks to draw comparisons with natural processes, his sculptural interventions are more enacted than constructed – better read as performative scenarios than disembodied compositions.

Brooks is the recipient of several prestigious awards, including the Rome Prize, a grant from the Foundation for Contemporary Arts, a research grant to the Ecuadorian Amazon from the Coypu Foundation, and a Smithsonian Artist Research Fellowship.

Maryland Institute College of Art, Baltimore

Rhode Island School of Design, Providence

Parsons The New School for Design, New York

Columbia University, New YorkHaverford College, Haverford

 at Cheekwood Museum of Art (Nashville, 2019)

 at Bemis Center for Contemporary Arts (Omaha, 2017)

 at Storm King Art Center (New Windsor, 2013)

Gap Ecology Three Still Lives with Cherry Picker and Palms

 at Socrates Sculpture Park, with "Marfa Dialogues/NY" (New York, NY 2013)

, Art Production Fund at Last Lot (New York, 2011)

Symbiosis, curated by Beth Rubin DeWoody at Berkshire Botanical Garden (Berkshires, 2022)

The Flag Project, Climate Museum and United Nations Environment Program at Rockefeller Center (New York, 2022)

Cinque Mostre at American Academy in Rome (Rome, 2020)

Collateral Event of the 58th International Art Exhibition at La Biennale di Venezia, Chiesa di Santa Maria delle Penitenti (Venice, 2019)

Indicators: Artists on Climate Change at Storm King Art Center (New Windsor, 2018)

Changwon Sculpture Biennale (Changwon, 2012)

He has been featured in The Brooklyn Rail, Hyperallergic, New York Times, Artforum and Bomb Magazine, among others.

David Brooks

Antoine Catala is obsessed with the banal, everyday use of the tools we use to communicate. He looks at platforms or devices, and scrutinizes how they are used to communicate, or more often than not miscommunicate. At the center of all Catala does is language. New platforms of communication (such as twitter, text messages, blogs) allow language to evolve in radical new ways (emojis stand in for words, written messages get shorter and shorter, audio or videos augment text).

Language has always had a profound symbiotic bond with technology. Catala uses technology, often crude or anachronistic, to epitomize the transformations of the new technologies. The given implication is that the new communication technologies in turn transform language, and therefore us. Catala’s position is more ambiguous. In his words: “In studying these new forms of language I am interested not so much in what is changing or lost within us each time we adopt a new mode of communication, but what remains, what is fixed and in that, what makes it uniquely, deeply human about the way we communicate.”

As time progresses, Catala says he is getting more and more fascinated in how art exists in a room, and the feelings - often alienating - attached to an exhibition and an exhibition space.

Packaging or Envelopes. All Feelings Disintegrate Up Close

 at Musée D’Art Contemporain (Lyon, 2015)

, curated by Tina Kukielski and Alex Klein at Carnegie Museum of Art (Pittsburgh, 2015)

, 58th Venice Biennale 2019, curated by Ralph Rugoff (Venice, 2019)

 at Museum of Contemporary Art Chicago (Chicago, 2018)

Art in the Age of the Internet, 1989 to Today

 at The Institute of Contemporary Art / Boston (Boston, 2018)

Nam June Paik Award at Westfälischer Kunstverein (Münster, 2018)

Suspended Animation at Hirshhorn Museum and Sculpture Garden (Washington, 2016)

Musée d’Art Contemporain de Lyon (Lyon)

He has been featured in The Brooklyn Rail, Artforum, The Guardian, Art in America, frieze, The New Yorker, The New York Times, among others

Antoine Catala

Sarah Greenberger Rafferty produces image-based works in paper, plastic, glass, metal, fabric, and video. Her work is driven by an ongoing examination of contemporary and mid-20th century visual culture and considers the ever-changing implications for photographic images in the digital era. ​​She is also into comedy.

 at Carnegie Museum of Art (Pittsburgh, 2021)

Out of the Camera: Beyond Photography, Chapter 4

 at John Young Museum of Art (Honolulu, 2021)

 at Rachel Uffner Gallery (New York, 2018)

at UB Art Galleries curated by Liz (Buffalo, 2020)

, Miller ICA, curated by Liz Park at Carnegie Mellon University (Pittsburgh, 2019)

, Public Fiction, Hammer Biennial (Los Angeles, 2014)

2014 Whitney Biennial at Whitney Museum of American Art curated by Michelle Grabner (New York, 2014)

Whitney Museum of American Art (New York)Yale University Art Gallery (New Haven)Deutsche Bank Collection (Germany)

She has been featured in The New York Times, Artforum, Artnews, The New Yorker, and The Brooklyn Rail, among others.

Sara Greenberger Rafferty

EJ Hill’s practice focuses on everyday experiences that intermingle public struggle, endurance, trauma, and joy—whether within athletics, religion, the American education system, or amusement parks through sculpture, installation, music, performance, and painting. His artworks are a form of embodied pedagogy, where he offers his viewers the tools to witness and feel things that might help unravel restrictive and harmful ideologies. Much of what he knows, he has learned from: Estelle Thompson, Karen Thompson, Ernest Hill Jr., Margaret Nomentana, Joan Giroux, Adam Brooks and Mat Wilson (Industry of the Ordinary), Andrea Fraser, Mario Ybarra Jr., Matt Austin, Young Chung, Adam Feldmeth, Jordan Casteel, TLC, Lauryn Hill, and Augie Grahn. He is forever indebted to these educators and thanks them endlessly.

Harvard University at The Radcliffe Institute, Cambridge

 at the Johnson-Kulukundis Family Gallery (Harvard University, 2020)

An Unwavering Tendency Toward the Center of a Blistering Sun

Whitney Biennial 2022 Quiet as It’s Kept at Whitney Museum of American Art (New York, 2022)

 | Lyon Biennale at Institut d’art Contemporain (Villeurbanne, 2017)

Future Generation Art Prize 2017, 57th Venice Biennale (Venice, 2017)

Whitney Museum of American Art (New York, NY)

The Studio Museum in Harlem (New York, NY)

Institut d’art Contemporain (Villeurbanne, France)

He has been featured in The New York Times, Los Angeles Times, and The New Yorker, among others.

EJ Hill

Jacob Kassay is an artist best known for painting yet his education is in photography with a special interest in Film. Kassay takes iterative and repetitive approaches to the mechanics of Abstraction to thin the membrane between our corporeal and psychic selves; these tactics are situational and transient in their application so as to maintain a provisional relationship to form.

Institute of Contemporary Arts ICA (London, 2011)

at CCA Wattis Institute for Contemporary Arts (San Francisco, 2017)

Museo d’Arte Moderna e Contemporanea (Rovereto)

He has been featured in Artforum, The Paris Review, The New York Times, Los Angeles Times, and The New Yorker among others

Jacob Kassay

Devin Kenny’s art practice includes painting, sculpture, photography, video, performance, music, digital art, writing, curatorial projects and more. Kenny’s works in one-off pieces as well as series with special attention given to the ephemeral, especially in urban centers. Their current work looks at cultures of the African Diaspora impacted by chattel slavery in relationship to network culture and online communities. Kenny also has a special interest in pop culture and subcultures of the past and present. With the bulk of their youth spent in Chicago and New York City, as an adult, Kenny’s practice has continued to Los Angeles, Houston, Mexico City, Amsterdam, Berlin, and the UK, oftentimes using specific elements of the cultural environment as a spark for curiosity and exploration. Cross-cultural and resourceful, Kenny's intuitive and research-responsive art looks at the subversive possibilities of repurposing while exhibiting flashes of the heartfelt, the humorous, and the critical.

Kenny is an alum of the Whitney Independent Study Program and the MFAH Core Program Houston,

Yale University Visiting Critic (New Haven)

 at Whitney Museum of American Art (New York, 2022)

revenge body politics (the repo man sings for you, the speaking implement reads for filth) at 

 at Aran Cravey Gallery (Los Angeles, 2014)

[tart vienna] curated by Pia-Marie Remmers at Galerie Thomas (Wien, 2023)

 curated by Mak Kern and Cassie Riger Fellows Of Contemporary Art Lab (Los Angeles, 2018)

 curated by Naomi Pearce at the Glue Factory Glasgow (Glasgow, 2016)

 curated by Sohrab Mohebbi and Ruth Estévez at REDCAT (Los Angeles, 2015)

They have been featured in BOMB Magazine, Artnews, Los Angeles Times, Dazed and Vice.

Devin Kenny

Ajay Kurian employs a fluid, multimedia vocabulary, which aims to articulate the social and environmental conditions that govern our desires, fears, and contradictions. His interests include, literature, science fiction, anime, and new materials. 

Ajay Kurian

Pooneh Maghazehe makes objects, prints, photos and sometimes performs. Using materials often for their symbolic qualities, Maghazehe’s approach to form maps the entanglements of encryption and erasure. The starting point for her recent works involve casting parts of a single mold and dry point printmaking - both mediums steeped in ideas about an origin story, its replicas, and the question of permanence. The Diet Coke logo, supermarket coupons, silhouettes of a seagull, and supersized doodles all permeate her work but never converge into full resolution

Similar to the processes of printmaking and casting, the images toy with the question of temporality and embodiment. The resulting works expose an intuitive material record keeping that mutually empowers an original and the pulpy residues of its manipulation.

Maryland institute college of art (MICA), (Baltimore)

 in conjunction with Bodega (Philadelphia, 2012)

 (with Nick Paparone) at Institute of Contemporary Art (Portland, 2013)

 at Brennan & Griffin Gallery (New York, 2019)

 at Torrence Shipman Gallery (Brooklyn, 2013)

Global Contemporary: Art Worlds After 1989

 at ZKM Center for Art and Media (Karlsruhe, 2011)

 Beijing 798 Biennial at BTAP Gallery (Beijing, 2009)

Gateway II at Newark Penn Station (Newark, 2013)

 at DePaul University Museum (Chicago, 2009)

She has been featured in The New York Times, Flaunt Magazine, Art Asia Pacific Magazine, Art Map Magazine and Contemporary Practices.

Pooneh Maghazehe

Erin Jane Nelson’s art practice is grounded in photography sourced from her personal archive of found and original images. She often works serially, with each project delving into new conceptual frameworks as far ranging as regional histories of the Southern barrier islands, formative personal relationships, spirituality as a process of mourning and healing, and science fiction narratives. Raised in the U.S. South and based in Atlanta, Nelson travels throughout the region to photograph her surroundings and lived experiences. She intuitively merges these images onto unexpected support structures—including silk, hand-crafted quilts, panels, and ceramic inspired by vernacular craft objects and the history of collage—their multiple references engaging the nuanced anxiety, conflict, and humor of the present moment and immediate future.

 at Museum of Contemporary Art of Georgia (Atlanta, 2021)

at Atlanta Contemporary Art Center (Atlanta, 2019)

Winterfest: An Exhibition of Arts and Crafts

at Whitney Museum of American Art (New York, 2018)

 at La Galerie, centre d’art contemporain (Noisy-le-Sec, 2019)

Photography Today: Public Private Relations

 at Pinakothek der Moderne (Munich, 2018)

Fries Museum (Leeuwarden)Museum of Contemporary Art of Georgia (Atlanta)

Whitney Museum of American Art (New York)

She has been featured in The New York Times, Frieze, Forbes Magazine, Hyperallergic and Cultured Magazine, among others.

Erin Jane Nelson

Curtis Santiago was born in 1979 to Trinidadian parents who emigrated to Alberta, Canada to work in the oil and gas industry. His home was white suburbia and his influences were consistently his older brothers. One the athlete, motivator, and biggest fan who encouraged and championed his stage performance in their kitchen as soon as he could sing. The other, an artist, an actor, a thinker who cultivated Curtis’ interest and love of art and music at a very early age. Here he was in the middle of pickup trucks and hockey, learning about Basquiat and black artistry all under the tutelage and unction of his brother.

His parents and family are ever present in his work and his pursuits. His quest to discover his own ancestry taking him to Portugal and learning about the Moors and the African influence in art. He spent time in residence in South Africa where he learned to bead with the Beaders’ Guild and experienced a beautiful interconnectedness with local families and art professionals alike. His nomadic existence started in his early 20s and his willingness to go and be present in new places has dramatically informed his work.

at Art Gallery of Alberta (Edmonton, 2022)

at Rachel Uffner Gallery (New York, 2020)

, curated by Claire Gilman at The Drawing Center (New York, 2020)

14th Annual Dak’Art Biennale (Dakar, 2022)

Toronto Biennial of Art, curated by Candice Hopkins and Tairone Bastien (Toronto, 2019)

Smaller Worlds. Diorama in Contemporary Art 

curated by Zsuzska Petró at Ludwig Museum Budapest ( Budapest, 2022)

, curated by Tom Polo at Reading Room (Melbourne, 2019)

, curated by Constance Tenvik at Loyal Gallery (Stockholm, 2019)

at Rachel Uffner Gallery (New York, 2018)

, curated by Johanna Burton, Natalie Bell, and Sara O’Keeffe at New Museum (New York, 2017)

He has been featured in Artforum, Hyperallergic, New York Times, Forbes, The New Yorker and The Guardian, among others.

Curtis Talwst Santiago

Andrew Sendor is a visual artist who lives and works in New York. Sendor is most recognized for his extraordinary facility in representational painting that serves to illuminate his ongoing engagement with the power of the imagination. The artist introduces us to fictional characters in storylines whose genesis derives from a unique creative process: Sendor scripts, produces, directs, and documents performances recounting the life and times of his eccentric cast. Representing scenes from these psychologically charged, hallucinatory narratives, each meticulously rendered artwork surveys the materiality of images and the interrelated history of photorealism and evolution of photography. Sendor builds monochromatic compositions using acute pictorial focus along with disrupted visual motifs, and situates the works in artist’s frames whose physicality elevates the painted imagery — and which together comprise an idiosyncratic language of painting.

Micro-Macro: Andrew Sendor and Ali Banisadr 

at Museum of Contemporary Art MOCA Jacksonville (Jacksonville, 2019)

 at Beijing Art Now Gallery BANG (Beijing, 2018)

 at Caren Golden Fine Art (New York, 2009)

 at Simon Lee Gallery, (London, 2022; Hong Kong, 2022)

Seen in the Mirror: Things from the Cartin Collection

 curated by Beth Rudin DeWoody at Wilding Cran Gallery (Los Angeles, 2017)

 at Kemper Museum of Contemporary Art (Kansas City, 2007)

The CB Collection Roppongi (Tokyo)Hudson Valley MOCA (Peekskill)The Morgan Library & Museum (New York)Museum of Contemporary Art Jacksonville (Jacksonville)Progressive Art Collection (Ohio)The Rubell Family Collection (Miami)Zabludowicz Art Trust (London)

He has been featured in The Brooklyn Rail, New York Times, Bomb Magazine, The Huffington Post,Art in America and Time Out New York among others.

Andrew Sendor

Fin Simonetti works primarily in sculpture. Her work examines the entangled relationship between measures of control and desires for security. Simonetti uses imagery that is designed to tap into our visceral fears, and conceptually moves between rendering sculptural forms that represent both protection and vulnerability. The artist’s frequent use of stained glass references its history as a common trade amongst Italian immigrants in Canada, including the artist’s own family.

, alongside Louise Bourgeois and Chris Curreri at Esker Foundation (Calgary, 2021)

, curated by Kahil Irving at Canada (New York, 2022)

, curated by Kahil Irving, at Klaus von Nichtssagend (New York, 2022)

 at Lock Up International (Mexico City, 2018)

 at The Space Company (San Francisco, 2018)

She has been featured in Artforum, New York Times, The New Yorker, Cultured Magazine, Art in America and ArtNet, among others.

Fin Simonetti

RECOGNIZE THE HUMANITY IN TRANS PEOPLE FROM TRANS CHILDREN TO TRANS ELDERS

I WAS BORN A WOMAN IN A SOCIETY THAT COERCED ME INTO REPRESSION UNTIL ADULTHOOD

KEEP UP • MY GENDER IS NOT DEFINED BY MY GENITALIA • MY GENDER IS NOT DEFINED BY CHROMOSOMES

I AM A TRANS WOMAN DEMANDING ACCEPTANCE AND EQUITY NOT TOLERANCE AND EQUALITY

The layers of my identity inform my outlook and perspective. I am a multifaceted human being wanting to engage in a discourse around your journey. Your journey as an artist but more importantly as a human being with a brain.

 at Performance Space New York (New York, 2022)

Hannah Hoffman Gallery (Los Angeles, 2022)

I’m Jade. I’m a trans woman trans womxn trans femme two spirit human being. Life feels long even though it hasn’t been all that long. A brain tumor surgically removed, gettingdivorced, losing my dad, brain tumor resurgence scare, starting hormone replacementtherapy, experiencing sexual assault and rape multiple times and coming out as a woman.This exhibition is a roller coaster of the emotions feelings but also thoughts connections thathappened over this span of time... only a little more than a decade. This exhibition covers the span of Puppies Puppies to Jade. It’s hard to get up each morning. My heart aches but I’mhappy to be a woman. I’ll try my best to enjoy life even though society makes it difficult. Fromdust to dust I am but a speck on this planet and I wonder how to use this short life of mine.Trying not to let my trauma take over but still be kind to yourself Jade. This is the end of a decade • a new way of working coming soon. Sincerely, Jade Kuriki Olivo,

 at Kunsthaus Glarus (Glarus, Switzerland 2021)

 at Halle für Kunst (Lüneburg, Germany 2019)

 at Galerie Barbara Weiss (Berlin, Germany 2018)

, curated by Peter Fischli at Fondazione Prada (Venice, 2021)

 by Tenzing Barshee at Galerie Bernhard (Zurich, 2019)

(performance) at MoMA PS1 (New York City, 2017)

Whitney Biennial at Whitney Museum (New York, 2017)

Group exhibition 2017 at James Fuentes (New York City, 2017)

She has been featured in Artforum, Frieze, Interview Magazine, Forbes and The New York Times, among others.

Puppies Puppies aka Jade Kuriki Olivo

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